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[Reprinted  from  The  Romanic  Review,  Vol.  I,  No.  2,  April-June,  1910.] 


ARTHURIAN  LITERATURE 

FROM' the  beginnings  of  Arthurian  romance  there  has  apparently 
been  no  subsidence  of  interest  in  the  stories,  both  principal  and 
secondary,  which  are  connected  with  the  name  and  exploits  of  the 
main  character  and  the  satellites  swinging  around  him  as  a center. 
The  production  has  not  always  been  constant,  nor  do  we  find  in 
each  century  reproductions  of  the  tales  and  versions  of  the  pre- 
ceding century.  This  may  be  indicative  of  the  real  situation,  or  it 
may  be  due  to  the  fact  that  all  the  copies  of  a certain  version  have 
been  lost,  or,  if  extant,  still  lie  undiscovered  in  some  hidden  recess. 
The  whole  corpus  of  the  literature  belonging  to  the  Arthurian 
cycle,  and  to  the  still  more  extensive  one,  the  Celtic  or  Breton, 
must  have  been  enormous.  What  relation  the  entire  number  of 
versions  we  now  possess  bears  to  the  whole  production  will  never 
be  known.  We  have  knowledge  of  certain  versions  which  have 
been  lost,  and,  in  some  cases,  also  of  the  names  of  the  authors.  It 
is  the  purpose  of  this  article  to  determine,  as  well  as  can  be  done 
with  the  material  available,  the  condition  and  progress  of  the  litera- 
ture and  its  geographical  distribution,  to  show  its  chronological 
development,  and  to  present  the  names  and  titles  belonging  to  each 
century.  Only  literature,  as  such,  will  be  considered,  and  no  ac- 
count will  be  taken  here  of  the  progress  of  critical  literature: 
studies,  editions,  and  similar  productions.  Theories  regarding 
origins  of  the  tales,  or  the  hypothetical  existence  of  unknown 
writers  or  versions  will  not  be  regarded,  nor  will  any  works  inspired 
by  the  Arthurian  stories,  as,  for  instance,  Amadis,  Le  Petit  Artns, 
etc.,  be  considered.  Allusions  to  the  presence  of  versions  at  differ- 
ent periods  and  in  various  countries  may  be  found  in  many  produc- 
tions in  the  middle  Ages,  but  all  such  references  are  of  little  value 
in  this  article,  because,  even  if  we  can  thus  attest  the  existence  of 
the  tales,  it  is  not  certain  that  they  were  written  in  the  language  of 
the  writer  making  the  mention.  Compare,  for  instance,  the  quo- 
tations in  Menendez  y Pelayo’s  Tratado 1 concerning  the  existence 

1 Menendez  y Pelayo.  Tratado  de  los  romances  viejos.  Madrid  ( Bibl . 
clasica) , 1903-6,  II,  448  ff. 

125 


126 


The  Romanic  Review 


of  Arthurian  tales  in  Spain.  Were  these  versions  written  in  Sp; 
ish,  French  or  Italian?  We  do  not  know.  And,  too,  the  nan 
thus  mentioned  and  the  tales  about  them  were,  doubtless,  due 
many  cases  to  oral  tradition,  and  were  thus  not  represented  in  1 
written  literature  of  the  time.  This  article  is  entirely  historic 
and,  to  a large  extent,  statistical,  and  is  an  attempt  to  bring  togetl 
the  information  scattered  here  and  there  in  monographs,  which  ■ 
frequently  difficult  to  locate.  The  data  given  here  have  been  ( • 
tained  by  extensive  reading  of  monographs,  critical  editions,  a 
bibliographies,  searches  made  in  journals  and  the  publications 
learned  societies,  and  the  examination  of  not  easily  accessible  v 
sions  in  the  libraries  of  this  country  and  Europe.  The  list  is,  c 
tainly,  not  complete,  nor,  probably,  in  all  cases  correct,  due  to  i 
lack  of  accurate  knowledge  regarding  the  treasures  of  libraries  a 
the  facts  concerning  early  writers.  The  writer  will  be  grate 
for  information  regarding  errors  or  omissions.  Scholars  are  1 
agreed  in  many  cases  as  to  dates  and  relationships,  nor  even  as 
the  existence,  under  names  now  known,  of  certain  writers,  nor  cc 
cerning  the  original  date  of  certain  versions.  This  makes  the  U. 
of  the  historian  and  bibliographer  difficult.  Thus,  any  enumerate 
is  subject  to  error,  but,  in  the  light  of  what  is  known,  based 
extant  versions,  the  statements  regarding  the  condition  of  the  cy 
in  any  period  are,  probably,  relatively  correct.  Few  references  ; 
made  to  other  articles,  as  this  paper  is  to  be  followed  by  a chroi 
logical  and  descriptive  bibliography  of  Arthurian  literature, 
means  of  which  the  statements  here  made  can  be  controlled. 

We  may,  for  convenience,  divide  the  whole  period  into  V 
parts,  one  before  and  the  other  after  the  first  printed  monume 
This  division  is  purely  arbitrary,  and  is  not  based  on  any  suggest 
development  of  the  literature,  but  represents  a certain  factor  in  • 
production  and  preservation  of  previous  versions  which  might  h< 
otherwise  been  lost.  The  two  periods  here  established  overlap, 
manuscripts  are  found  in  the  latter  part  of  the  fifteenth  centu 
and  in  the  sixteenth,  seventeenth,  and  eighteenth  centuries,  althor 
in  small  numbers.  Doubtless  more  than  those  at  present  kno 
have  existed.  The  dividing  date  in  our  especial  case  is,  as  far 
is  known,  1477,  when  two  German  publications  appeared,  both 
Augsburg,  one  dealing  with  Perceval,  and  the  other  treating 


Arthurian  Literature 


127 


Titurel.  These  were  rapidly  followed,  as  will  be  shown  farther  on, 
by  versions  on  other  subjects,  and  published  in  other  cities  and 
countries.  The  first  period  has  for  some  time  been  the  object  of 
study  by  scholars  with  the  view  to  solving,  if  possible,  the  problems 
regarding  the  origins  of  the  cycle,  the  genealogy  and  interrelation- 
ship of  versions.  Various  prose  and  metrical  productions  have  been 
edited  and  subjected  to  critical  analysis.  Some  attention  has  been 
directed  to  the  narrations  of  the  sixteenth  and  later  centuries,  but 
the  period  after  the  invention  of  printing  has  received  little  atten- 
tion, except  in  the  case  of  Malory,  Tennyson,  and  Wagner.  Much 
yet  remains  to  be  done,  and,  until  the  work  has  progressed  more 
fully,  it  is  impossible  to  state  the  real  facts  with  accuracy,  especially 
those  concerning  the  large  number  of  anonymous  versions  which 
have  not  been  adequately  described. 

The  earliest  date  for  Arthurian  literature  is  the  eighth  or  ninth 
century,  when,  in  Nennius,  we  have  the  first  statement  regarding 
Arthur,  in  which  he  is  spoken  of  as  a warrior.  Evans2  quotes  the 
chronicle  of  Helinand,3  who  writes  to  the  effect,  that  a Breton 
hermit  of  the  eighth  century,  720,  wrote  a Latin  history,  or  descrip- 
tion, of  the  Grail , but,  on  page  297  of  the  work  cited,  Evans  con- 
cludes that  the  work  was  written  shortly  before  the  year  1220. 

Villemarque4  publishes  a Welsh  popular  song  of  the  tenth  cen- 
tury, Arthur  et  la  Reine  Gwennivar ; on  p.  427,  a poem  of  the  same 
century  entitled  Arthur , Tristan  et  Gwalchmai , and  on  p.  430, 
Arthur  un  jour  de  hataille,  fragment  e pique  tire  de  la  leg  end  e 
armoricaine  des  rois , poeme  du  Xe  ou  du  XT  siecle,  d’apfes  un 
manuscrit  gallois  en  prose  du  XV e siecle.  These  statements  are  not 
supported  by  sufficient  evidence  to  be  conclusive. 

We  must  then,  in  the  absence  of  information  to  the  contrary, 
consider  Geoffrey  of  Monmouth  as  the  next  writer  who  interested 
himself  in  the  Arthurian  legend,  although  as  incidental  material  in 
a different  line  of  writing.  In  his  Historia  Britonuni  and  Vita 
Merlini , Arthur  appears  as  warrior  and  Merlin  as  prophet.  No 

2 The  High  History  of  the  Holy  Graal,  London,  Dent,  1898,  II,  293. 

3Helinandi  op.,  ed.  Migne,  Patrologia,  cursus  completus.  Parisiis,  1844-6, 
CCXII,  814. 

*Les  Romans  de  la  Table  ronde,  etc.  . . . , Paris,  nouvelle  edition,  1861, 
140  ff. 


128 


The  Romanic  Revieiv 


legendary  or  fabulous  deeds  are  here  ascribed  to  Arthur ; the  s 
ments  are  made  with  the  coolness  and  assurance  of  the  consc 
tious  historian.  Gildas,  of  the  sixth  century,  is  regularly  mentie 
in  histories  of  the  Arthurian  cycle,  but  there  is  no  mention  ir 
writings  of  an  Arthurian  personage;5  he  is  connected  with  GeoJ 
only  through  data  concerning  the  history  of  the  British  pe< 
Geoffrey  became  the  basis  of  many  chronicles6  and  of  a few  w 
of  semi-historical  and  semi-romantic  fiction,  and  served  as  a mec 
for  the  introduction  of  legendary  material,  which,  like  the  st( 
that  became  attached  to  Charlemagne,  became  identified  all 
exclusively  with  Arthurian  personages. 

The  names  in  the  twelfth  century,  including  six  chroniclers 
nected  with  Geoffrey  of  Monmouth,  who  translated  or  rehan 
his  Historia  Britonum,  are : Alfred  of  Beverly;  Benedict  of  Gloi 
ter,  who,  in  his  life  of  St.  Dubricius,  gives  an  outline  of  Geoffi 
account  of  Arthur;  Beroul;  Chrestien  de  Troyes;  Eilhart 
Oberge;  Etienne,  monk  of  Bee,  who,  in  his  Draco  Normann 
gives  a Latin  paraphrase  of  Geoffrey’s  Historia , in  which  Ar 
is  more  exalted  than  in  Geoffrey;  Gautier  (Gauchier)  de  Dot 
(Denet,  Dons,  Dordans,  Doudain)  who  continued  Chrestien,  G 
frey  of  Monmouth;  Geoffrei  Gaimar;  Godefroy  de  Laigny  (Lit 
continuator  of  Chrestien;  Gottfried  of  Viterbo;  Gottfried 
Strassburg;  (or  beginning  of  the  thirteenth  century),  Hartmanr 
Aue;  Helie  de  Borron;  Henry  of  Huntingdon;  Layamon;  H 
Lonelich;  Luce  de  Gast  (Gua,  Gaut,  Guesnes,  Genes,  Wat,  Wad, 
Gal) ; Gautier  Map;  Marie  de  France;  Robert,  a monk,  or  Brc 
Robert;  Robert  de  Borron;  Robert  of  Gloucester;  The 
(French);  Thomas  (English);  Ulrich  von  Zatzihkoven;  W 
William  of  Malmesbury;  besides  numerous  anonymous  product 

R.  H.  Fletcher7  notes  that  Alanus  de  Insulis  (1175)  men 
the  belief  in  the  return  of  Arthur  from  Avalon.  Villemai 

8 However,  E.  W.  B.  Nicholson,  in  Academy,  1895,  297ft.,  suggests,  th; 
word  “urse,”  in  Gildas,  is  his  translation  of  the  name  Arthur. 

6 R.  H.  Fletcher,  The  Arthurian  Material  in  the  Chronicles,  especially 
of  Great  Britain  and  France,  Harvard  Studies  in  Philology  and  Literatui 
1906,  passim. 

7 Harvard  Studies  in  Philology  and  Literature,  X,  1906,  101. 

8 Romans,  etc.,  25-27. 


Arthurian  Literature 


29 


ates  that  Gauthier  Calenius,  or  Walter  of  Oxford,9  brought 
Tysilio’s  Legende  des  rois,  early  seventh  century,  from  Armorica, 
and  translated  it  into  Cambrian.  No  evidence  has  come  to  the 
riter  that  his  production  is  extant.  Arnaldo  Daniello  is  supposed 
o have  written  a Provencal  Lancelot.  Compositions  are  also 
eferred  to  by  the  names  Breri  and  Li  Kievres.  Fletcher10 
wes  a list  of  chroniclers  who  followed  Geoffrey  of  Monmouth. 

the  cathedral  at  Modena  is  a relief  representing  a scene  from 
rthurian  romance,  the  storming  of  a castle.11 
Anonymous  versions  are:  the  Brut  of  Munich,  Lai  du  cor,  a 
elsh  manuscript  based  on  Gautier  Map,  Lancelot,  Perceval,  and 
istan,  which  is  represented  by  a Bohemian  version  based  on  Eil- 
rt  von  Oberge,  a French  metrical  version  attributed  to  Thomas, 
jreek  version,  which,  however,  may  belong  to  the  following  cen- 
y,  and  an  episode  describing  Tristan’s  disguise  as  a madman. 
Thus  the  first  written  monuments  are  represented  by  the  follow- 
• titles : Arthur,  Brut,  Cliges , Cor,  Charette,  Erec  et  Enide,  Grail, 
evrefeuille,  G(u)iron,  Lancelot,  Historia  Britonum,  in  Latin  and 
mch,  Lanval,  Meliadus,  Merlin,  Perceval,  Round  Table , Tris- 
, and  Ivain  (Izvein).  There  were  in  all  fifty-four  versions,12 
iteen  titles,  twenty-eight  authors,  including  six  chroniclers, 
i eight  languages  were  represented.  The  distribution  as  to  lan- 
ge  is  interesting.  Of  the  versions  mentioned,  French  has  thirty, 
G -man,  four,  Latin,13  eleven,  English,  three,  Welsh,  Provencal 
st),  Bohemian,  and  Greek  each  one.  Spanish,  Portuguese,  and 
! : ian  do  not  yet  appear,  and  only  the  district  is  represented  which 
earest  the  place  of  origin  of  the  legends,  except  in  the  case  of 
B<  lemia  and  Greece.  The  spread  will  be  rapid  in  the  next  century. 
In  the  thirteenth  century  we  find  the  following  names  :14  Albrecht 

3 See  Dictionary  of  National  Biography,  London-New  York,  1885  ff.,  under 
nius. 

10  Harvard  Studies,  etc.,  x,  1906,  171  ff. 

11  Foerster,  Zeitschrift  f.  romanischen  Philologie,  XXII,  1898,  243  ff.,  526  ff. 

12  By  version  is  not  meant  here  the  number  of  manuscripts,  but  the  various 
ments  of  a subject,  or  the  treatments  in  different  languages. 

13  Latin  compositions  should  be  ascribed  to  the  countries  in  which  they  were 
;en,  but  the  data  regarding  these  versions  are  not  sufficiently  available  to 

1 ;ant  this  being  done  with  accuracy. 

4 Names  which  appear  in  any  century  are  not  counted  in  the  following,  even 
l sir  productions  continue  into  the  fallowing  century. 


130 


The  Romanic  Review 


von  Scharfenberg,  Biket,  Hans  Brant,  Colin  le  Fruitier,  Douglas  of 
Glastonbury,  Elias,  Hauk  Erlendsson,  Konrad  Fleck,  Fulke  Fitz- 
Warin,  Gautier  d’Aupais,  Gautier  de  Cayx,  Gerbert  (de  Montreuil), 
Robert  Guichard,  Guillaume  de  Rennes,  Guillaume  le  Clerc,  Guiot, 
Guiot  de  Provins,  Heinrich  von  Freiburg,  Heinrich  von  dem  Turlin, 
Hutton  d’Arc}^,  Jacob  van  Maerlant,  Jehan,  Manessier,  Paien  de 
Maisieres,  Philippe  Mousket,  Der  Pleier,  Raoul  de  Houdenc,  Renaut, 
Renaut  de  Beaujeu,  Richart  d’Yrlande,  Brother  Robert,  Rusticien 
de  Pise,  Sarrazin,  Der  Strieker,  Ulrich  von  Tiirheim,  Ulrich  von 
Lichtenstein,  Wolfram  von  Eschenbach,  Wirnt  von  Gravenberg, 
besides  a large  number  of  anonymous  writers.  The  name  of  King 
Haakon,  although  himself  not  a writer,  is  closely  connected  with 
French  literature  in  this  period.  At  his  command  Brother  Robert 
translated  the  lays  of  Marie  de  France,  the  Tristan  of  Thomas,  and, 
probably,  the  Mantel  mantaille  into  Icelandic. 

Besides  the  names  properly  belonging  to  this  century  the  follow- 
ing are  represented  by  manuscripts  or  rehandlings : Chrestien  de 
Troyes,  Eilhart  von  Oberge,  Geoff rei  Gaimar,  Geoffrey  of  Mon- 
mouth, Gottfried  von  Strassburg,  Hartmann  von  Aue,  Helie  de 
Borron,  Layamon,  Luce  de  Gast,  Gautier  Map,  Marie  de  France, 
Robert  de  Borron,  Wace. 

The  titles  handled  in  this  century  were : Arthur , the  main  legend 
and  two  supplementary  ones;  Atre  perilleux;  Brut;  Claris  et  Laris; 
Cliges;  Lai  du  cor;  Chevalier  au  Cygne;  Chronicles;  Chevalier  d 
V epee;  Chevalier  a la  robe  vermeille  (f);  Chevalier  as  deus  espees; 
Donnee  des  arnants ; Durmart;  Erec;  Fergus  (Fregus)  ; Fe- 
busso;  Grail,  several  versions ; Gologras  and  Galeron;  Guiron ; Garel 
von  dem  bliihenden  Tal;  Giglain;  Iwein;  Jaufre ; Joseph  d’Ari- 
mathie;  Krone;  Lancelot;  Lais;  Mantel;  Merlin;  Meliadus ; Mele- 
ranz;  Meraugis  de  Portlesgues  ; Perceval;  Perlesvaus ; Raguidel; 
Rigomer;  Titurel;  Tristan,  several  versions;  Wigoleis;  Wigamur; 
Yvain. 

There  has  been  an  enormous  growth  of  production  in  this  cen- 
tury, judging  from  the  extant  monuments.  There  are  thirty-eight 
names,  forty  titles  and  one  hundred  and  thirty-nine  versions,  divided 
among  fourteen  languages  as  follows:  French,  seventy-nine;  Ger- 
man, twenty-two ; Latin,  eleven ; Italian,  six ; Icelandic,  five ; Welsh, 


Arthurian  Literature 


131 

English,  three ; Dutch  and  Provencal,  each  two,  and  Flemish, 
(?),  Portuguese,  Spanish  and  Hebrew,  each  one. 
ie  subject  most  frequently  treated  is  Tristan , of  which  there 
i hirteen  anonymous  versions,  and  nine  the  authorship  of  which 
, wn;  next  is  Lancelot  with  five  anonymous  and  two  identified, 
n,  five  anonymous  and  three  identified,  The  Grail,  including 
lound  Table  and  Joseph  of  Arimathia,  seven  anonymous  and 
identified.  Several  of  these  belong  also  to  the  next  century, 
rey  of  Monmouth’s  history  continues  through  this  century, 
reappears  in  succeeding  ones,  but  the  interest  in  it  must  have 
r ; due  to  its  historical  material,  rather  than  to  any  novelistic 
nts.  From  now  on  the  corpus  of  Arthurian  literature  is  in 
gor.  Besides  the  principal  subjects  treated,  incidental  motives 
r,  at  first,  in  some  cases,  entirely  unconnected  with  Arthurian 
ture,  except  that  they  were  Celtic  in  character,  fabulous  or 
irious,  and  thus,  like  the  Arthurian  stories  proper,  belong  to  the 
* cycle,  the  Celtic  or  Breton.  They  were  handled  separately, 
came  amalgamated  with  the  larger  stories,  and  thus  lost  their 
>endent  character.  On  the  other  hand,  an  incident  or  person- 
was,  here  and  there,  lifted  from  a dependent  position,  and 
ne  the  subject  for  separate  treatment. 

n the  fourteenth  and  fifteenth  centuries,  not  including  the 
:ed  volumes,  there  is  a decrease  in  the  number  of  versions,  and 
lames  are  slightly  fewer  in  number  than  in  the  twelfth  century, 
:e  there  are  twenty-eight,  and  in  the  thirteenth  century,  where 
y-eight  have  been  reported.  The  number  of  anomymous  works 
ill  large.  This  falling  off  in  interest  was  not  limited  to  the 
mrian  stories.  It  is  well  known  that  a feeling  of  weariness  and 
ness  had  come  over  the  literary  world,  and,  too,  the  constant 
ndling  of  old  material,  and  the  resulting  lack  of  invention  were 
lucing  disastrous  results.  The  prose  redactions  especially  were 
ed  at  this  time  with  details  of  description,  labored  effort  and 
tition  of  kindred  motives,  and  showed  little  or  no  originality, 
lin  Paris,  in  his  description  of  the  manuscripts  in  the  Royal 
•ary,1 5 says  of  these,  that  they  have  fortunately  been  lost  to  a 
it  degree.  Surely,  in  reading  them  we  feel  little  inspiration, 

15  Les  Manuscrits  f?Aangois  de  la  Bibliotheque  du  Rot,  etc.,  Paris,  Techener, 
-48,  passim. 


I32 


The  Romanic  Review 


and  our  interest  in  them  now  lies  almost  solely  in  their  historic 
position,  or  in  the  material  they  offer  for  treatment  by  later  and 
more  brilliant  writers,  and  not  in  their  own  literary  qualities. 

The  names  belonging  to  the  fourteenth  century  are : Thomas 
Chestre,  Philipp  Colin,  Thomas  Castleford,  Guillem  de  Torella, 
Ranulf  Higden,  Hugh  of  Eghinton,  John  of  Trevisa,  Peter  Lang- 
toft,  Lodewije  van  Yelten,  Robert  Manning  of  Brunne,  Pennine, 
Pedro  de  Barcellos,  Rauf  de  Bo(h)un,  Guillem  Rexach,  Robert  of 
Thornton,  Maistre  Richart,  Peter  Vostaert,  Claus  Wisse,  Zorzi,  and 
one  devout  writer  ascribed  a version  of  the  Grail , or  Joseph  of 
Arimathia,  to  the  authorship  of  Christ.  There  is  a larger  propor- 
tion of  anonymous  versions  in  this  century  than  in  the  one  preced- 
ing. Fletcher16  has  given  the  names  of  the  Latin  chroniclers  of  the 
century  who  followed  Geoffroy  of  Monmouth. 

Writers  of  previous  centuries  who  are  now  represented  are: 
Chrestien  de  Troyes,  with  the  continuations  of  Manessier;  Gautiei 
de  Doulens,  and  Gerbert;  Eilhart  von  Oberge;  Geoffrey  of  Mon- 
mouth; Gottfried  von  Strassburg;  Hartmann  von  Aue;  Heinrich 
von  Freiburg;  Heinrich  von  dem  Turlin;  Helie  de  Borron;  Jacob 
van  Maerlant;  Lodwije  van  Velthem;  Luce  de  Gast;  Gautier  Map; 
Raoul  de  Houdenc;  Robert  de  Borron;  Rusticien  de  Pise;  Wace; 
Wolfram  von  Eschenbach. 

The  number  of  writers  known  for  this  period  is  comparatively 
small,  and  the  number  of  titles  has  decreased : Arthur,  with  several 
additional  variants;  Donnee  des  amants;  Brut;  Febusso;  Guiron; 
Grail;  Gawayne;  Iwein;  Jaufre;  Joseph;  Lancelot;  Lais;  Lanval ; 
Libeaus  desconnus;  Mantel;  Meliadus;  Morien  (Lancelot) ; Meria- 
doc;  Merlin;  Novelli  antiche,  a collection  containing  several  short 
poems  on  Tristan  and  Lancelot;  Perceval;  Round  Table;  Titurel; 
T ristan ; W igoleis. 

Statistics  for  the  fourteenth  century  are : nineteen  names,  twenty- 
four  titles,  one  hundred  and  four  versions,  divided  among  fourteen 
languagesas  follows:  French,  thirty-eight ; English, sixteen ; Italian, 
thirteen;  German,  nine;  Latin,  eight;  Spanish,  seven;  Portuguese, 
four;  Flemish,  three,  and  Bohemian,  Provengal,  Swedish,  Welsh, 
and  Dutch,  each  one.  This  century  was  less  productive  of  authors, 
whose  names  are  known,  than  the  preceding  one. 


19  Harvard  Studies , 1906,  175  ff. 


Arthurian  Literature 


133 


In  the  fifteenth  century  there  is  only  a slight  advance  in  the 
number  of  names,  but  the  titles  have  increased:  twenty  names, 
thirty-seven  titles,  with  one  hundred  and  three  versions,  divided 
among  nine  languages,  as  follows:  English,  thirty-two;  French, 
twenty-six ; German,  sixteen ; Italian,  fourteen ; Icelandic  and  Welsh, 
each  four;  Spanish,  three;  Latin  and  Portuguese,  each  two.  This 
total  of  names  does  not  include  printers. 

The  authors  and  scribes  for  the  century  are : Aubret,  Bourgchier, 
Daniello  di  Ghery,  Ludowicus  Fliiegl,  Ulrich  Fiierterer,  Giovanni 
de’  Cignardi,  Gilles  Gassien,  Lonelich,  Malory,  Micheau  Gonnet 
de  Brouce,  Robert  of  Thornton,  Owen  Jones,  G.  Papin,  Rate,  Sege- 
bert  von  Babemberg,  Pierre  Sa-la,  E.  Towler,  Venetio,  Jehan  Wau- 
quelin,  Zuliano  de  Anzola,  besides  a number  of  anonymous  produc- 
tions, and  the  reproductions  of  printers  whose  names  are  not  here 
given. 

The  new  period  entered  with  the  last  quarter  of  this  century. 
In  1477  were  printed  the  first  books  that  interest  us  here : 1st  zweifel 
Hertzen  nachgehur , etc.,  Augsburg,  which  treats  of  Perceval,  and 
Titurel , by  Wolfram  von  Eschenbach,  also  at  Augsburg.  These 
were  followed,  in  1480,  by  Vita  ( Historia ) di  Merlino,  Venice,  Luca 
Veneto  (Yeneziano),  a translation  of  Robert  de  Borron,  which  was 
reprinted  at  Florence  in  1485  ; I Due  primi  libri  della  storia  di  Mer- 
lino, also  a translation,  by  Zorzi,  from  Robert  de  Borron,  Florence, 
1495;  1480,  Caxton,  Chronicle  of  England , translated  from  French 
Brut;  1481,  Livre  de  bataille,  Lyons;  1484,  Hienach  folget  die  his- 
torie  von  herren  Tristrant  und  der  schon  Isalden  von  Irlande , etc., 
Augsburg,  Antonio  Sorg;  also  Augsburg,  1498,  by  Schonsperger, 
and  the  same  date,  Volksbuch , Augsburg;  1485,  Malory’s  Morte 
d}  Arthur,  translated  from  the  French,  and  printed  and  divided  into 
chapters  by  Caxton  at  London  (Westminster) ; reprinted  1498  by 
Wynkyn  de  Worde;  1485,  Historia  di  Merlino,  Florence,  same  as 
Veneto,  1480:  i486,  Lanselet,  printed  by  Govert  van  Ghemen  ter 
Goude,  Holland  (no  place  is  mentioned)  ; 1488,  Histoire  du  roy 
Arthur  et  des  chevaliers  de  la  Table  ronde  (Gautier  Map’s),  Rouen, 
also  Paris;  same  date,  Prophecies  de  Merlin,  Paris,  Anthoine 
Yerard,  and  Table  ronde,  autrement  dit  Lancelot  du  Lac,  compile 
et  extraict  . . . des  vraies  hystoires  . . . par  Gaultier  Map,  Rouen, 


134 


The  Romanic  Review 


Jehan  le  Bourgeois;  1489,  Histoire 17  du  tres  vaillant,  nobles  et  ex- 
cellent chevalier  Tristan , fils  duroi  Meliadns  (Luce  de  Gast),  Rouen, 
Jehan  le  Bourgois,  and  Paris,  Verard ; 1496,  the  same,  Paris,  Verard, 
and  Rouen,  printer  unknown;  1492,  Libro  de  battaglio  de  Tristano, 
Cremona,  Bernadinum  de  Misentis  de  Papia,  a small  poem  of  130 
stanzas;  1493,  Wigoleis  vom  Rade,  by  Wirnt  von  Gravenberg, 
Augsburg,  Schonsperger ; 1494,  Faits  et  gestes  du  noble  . . . Lan- 
celot, Paris,  Verard ; 1495,  Vita  di  Merlino,  Florence,  also  Venice; 
Tristan , Paris,  Verard;  1498,  Histoire  de  la  vie,  miracles,  enchan- 
temens  de  Merlin  (Robert  de  Borron),  Paris,  Verard;  Booke  of 
Kynge  Arthur,  Westminster,  Wynkyn  de  Worde;  Tristan,  Schon- 
sperger, Augsburg;  Volksbuch,  Augsburg,  containing  a German 
prose  rendering  of  Eilhart  von  Oberge’s  Tristrant;  1499,  El  baladro 
del  sabio  Merlin  con  sus  profecias,  Burgos,  Juan  de  Burgos;  Luce 
de  Gast’s  Tristan,  Paris,  Verard;  Lancelot,  Paris.  In  all,  there 
were  twenty-seven  printed  versions,  copies  of  which  have  been 
preserved. 

Here  the  writer  ventures  to  criticize  the  manner  of  referring  to 
the  early  printed  books.  Scholars  have  an  indiscriminate  way  of 
referring,  for  example,  to  the  Rouen  Tristan,  of  1489,  as  the  1489 
Tristan,  or  the  Jehan  Tristan,  etc.  Such  careless  practices  cause 
endless  confusion  and  waste  of  time  to  the  student,  besides  giving 
occasion  for  error  on  the  part  of  the  bibliographer  who  has  not  per- 
sonal access  to  the  volumes  indicated.  The  writer  has  in  his  posses- 
sion three  separate  cards  of  one  title  and  four  of  another,  besides 
numerous  ones  in  duplicate,  the  result  of  this  careless  habit.  Upon 
examination,  the  volumes  resolved  themselves  into  the  same  version 
under  the  same  title.  A reasonable  practice  would  be  to  indicate 
by  author  when  known,  giving  place  and  date  of  publication; 
if  the  author  is  unknown,  then  the  printer,  with  place  and  date. 
This  would  make  for  uniformity  and  accuracy. 

The  centers  for  publication  were : England : London,  Westmin- 
ster (Caxton,  Wynkyn  de  Worde);  Germany:  Augsburg  (Hans 

wLoseth,  Les  Romans  en  prose  de  Tristan , etc.  . . . Paris,  Ecole  des  Hautes 
Etudes,  1890,  XXII,  gives  the  title  as:  Roman  du  noble  Tristan  . . . etc.,  but  a 
copy  in  the  British  Museum,  London,  and  one  in  the  Bibl.  Nat.  Paris,  bear  the 
title : Histoire  des  vertueux  faits  du  . . . etc.,  and  another  copy  in  the  Bibl.  nat., 
and  one  in  the  Bodleian  Library,  Oxford,  have  Histoire  du  tres  vaillant.,  etc. 


Arthurian  Literature 


135 


Schonsperger,  Antonio  Sorg) ; France:  Rouen  (Jehan  le  Bourgois), 
Paris  (Antoine  Verard,  Jehan  du  Pre,  Gaillard  le  Bourgois) ; Spain : 
Burgos  (Juan  de  Burgos) ; Italy:  Cremona  (Bernadinum  de  Misentis 
e ' apia,  Cesare  Parmensem),  Venice  (Luca  \reneto or  Veneziano), 
Florence.  . . . 

The  titles  of  the  fifteenth  century  are : Arthur,  with  supplemen- 
tary versions;  Armes  des  chevaliers  de  la  Table  ronde;  Arbre  de 
bataille ; Brut;  Chronicles ; Cavalier e del  falso  scudo;  Cliges;  Sir 
Cornells;'  Claris  et  Laris;  Daniel  von  dem  bliihenden  Tal;  Guiron; 
Gawayne;  Grail;  Guinglain;  Historia  britonum;  Izvein;  Iarlles 
(Welsh  version  of  Chrestien’s  I vain) ; Joseph;  Krone;  Lancelot; 
Lib  cans  desconnus;  Llyfr;  Lanval;  Mantel;  Meliadus;  Merlin; 
Vozvs  of  the  companions  of  the  Round  Table;  Papagau;  Perceval; 
Peredur;  Percef orest,  Round  Table ; Titurel;  Tristan;  Tourneys  of 
the  companions  of  the  Round  Table;  Wigoleis ; Ysaye  le  triste. 

Writers  of  previous  centuries  who  are  represented  are : Albrecht 
von  Scharfenberg,  Chrestien  de  Troyes,  Eilhart  von  Oberge,  Geof- 
frey of  Monmouth,  Hartmann  von  Aue,  Heinrich  von  Freiburg, 
Heinrich  von  dem  Turlin,  Helie  de  Borron,  Jacob  van  Maerlant, 
Luce  de  Gast,  Gautier  Map,  Renaut  de  Beaujeu,  Robert  de  Borron, 
Rusticien  de  Pise,  Der  Strieker,  Wace,  Wirnt  von  Gravenberg, 
Wolfram  von  Eschenbach,  Zorzi. 

The  sixteenth  century  was  the  gala  time  of  Arthurian  literature 
before  the  nineteenth  century.  There  are  thirty-five  titles,  twenty- 
nine  names,  and  two  hundred  and  twelve  versions,  now  including 
editions,  divided  among  eight  languages,  of  which  French  has 
eighty-three,  Italian  forty-six,  German  thirty-two,  English  twenty- 
six,  Spanish  nineteen,  Latin  four,  Icelandic  and  Portuguese  each 
one.  The  increase  in  versions  is  accounted  for  by  the  large  number 
of  printed  editions  in  which  were  reproduced,  in  some  instances, 
older  versions,  frequently  altered,  and,  in  other  cases,  new  versions 
or  redactions.  It  is  noticable  that  only  one  of  the  older  incidental 
motifs  appears  in  extant  literature  in  this  century,  that  of  the 
“ Manteau  mautaille  ",  while,  on  the  other  hand,  there  are  new  com- 
positions on  Guinevere,15  Gundelbano,  the  Lady  of  Shalot,  Sagra- 

15  A tragi-comedy  performed  at  Fontainebleu,  1564,  which  is  lost. 


1 36 


The  Romanic  Review 


mor,  and  descriptions  of  the  arms,  sports,  and  vows  of  the  com 
panions  of  the  Round  Table. 

The  predominence  of  prose  over  metrical  versions  is  apparent. 
The  introduction  of  printing  was  at  once  making  its  influence  felt. 
The  dissemination  of  literary  monuments  in  permanent  form  was 
not,  before  this  period,  an  easy  matter,  owing  to  the  slowness  of 
writing,  the  expense  of  the  operation,  and  the  cost  of  the  material 
on  which  to  transcribe,  but  the  difficulties  in  the  process  of  repro- 
duction had  now  become  notably  lessened.  Then,  too,  verse  was 
giving  way  more  regularly  to  the  prose  form,  as  the  public  was  no 
longer  so  greatly  dependent  on  the  offices  of  the  professional 
reader  or  reciter  for  its  intellectual  entertainment.  This  made 
possible  the  increasing  interest  in  the  longer  tale  to  the  prejudice 
of  the  shorter,  detached  episode,  which  was  frequently  semi-depend 
ent  in  character.  Some  of  those  episodes  had  already  become  per- 
manently incorporated  in  the  longer  narratives.  Under  the  new 
conditions  one  would  expect  a rapid  and  extensive  spread  in  the 
production  of  the  novelistic  literature  of  the  Arthurian  tradition. 
Such  is  the  case,  as  is  demonstrated  by  the  large  number  of  versions, 
two  hundred  and  twelve,  but  the  geographical  limits  are  still  re- 
stricted to  western  Europe,  to  France,  England,  Italy,  Spain,  Portu- 
gal, Switzerland,  Norway,  and  Belgium,  with  one  Spanish  version, 
and  Latin  is  still  in  evidence  with  four  versions,  plus  five  chronicles 
based  on  Geoffrey  of  Monmouth. 

The  places  of  publication  were:  France:  Paris:  Anthoine  Ve- 
rard,16  Giron , Lancelot , Merlin , Tristan ; Michel  le  Noir,  Giron , 
Grail , Tristan , Merlin , Lancelot;  J.  Badius  Ascensius,  Geoffrey  of 
Monmouth’s  Historia  in  Latin;  Philippe  le  Noir,  Merlin , Ysaye , 
Grail , Lancelot , Round  Table ; Jehan  (le)  Petit,17  Grail,  Lancelot; 
Galliot  du  Pre,  Grail , Ysaye,  Percef orest,  Meliadus;  Anthoine 
Houic,  Devise  des  armes;  Jehan  Longis  and  Jehan  Sainct  Denis, 
Perceval;  Denis  Janot,  Tristan,  Meliadus;  Claude  and  Rinaldo  Cal- 

19  Among  these  names  are  included  those  of  printers  and  dealers.  It  is  fre- 
quently difficult  to  distinguish  between  them. 

17  Jehan  le  Petit,  Galliot  du  Pre,  and  Michel  le  Noir  collaborated  in  printing, 
or  selling,  a Grail , and  the  names  of  Jehan  le  Petit  and  Michel  le  Noir  appear 
together  on  the  title-page  of  a Lancelot. 


Arthurian  Literature 


13  7 


deria,  Girone  in  Italian;  Nicole  (Nicolas)  Bonfons,  Tristan, 
A ■ thur ; Veuve  Maurice  de  la  Porte,  Tristan ; Jehan  Trepperel  and 
Jehan  Jehannot,  Merlin;  Gabriel  Buon,  Tristan;  Nicolas  Cou- 
steau, “pour  Galliot  du  Pre,”  Percef orest ; and,  no  printer  or  dealer 
known,  Perceval  one,  Grail  two,  Tristan  two,  Percef  orest  three, 
Merlin  two,  Lancelot  one,  Meliadus  one;  Rouen : Jehan  and  Richard 
Mace,  associated  with  Michel  Angier,  of  Caen,  Merlin;  Lyons : 
Claude  Nourry,  Giglain;  Benoist  Rigaud,  Tristan,  Lancelot;  F. 
Didder,  Manteau;  Germany,  Worms:  Gregorius  Hofman,  Tristan; 
Frankfort:  Weygand  Han,  Tristan;  G.  Rube  and  Weygand  Han, 
Hi  golds;  Thomas  Rebart  and  Kilian  Hahn,  Tristan;  Johan  and 
Sigmund  Feyerabendt,  Buck  der  Liebe,  with  a prose  rendering  of 
Eilhart  von  Oberge’s  Tristan;  Nicole  Rost,  Tristan,  and  an  un- 
signed Heldenbuch  containing  Tristan;  Strassburg:  Jacob  Frohlich, 
Tristan;  an  unsigned  Tristan  and  Gawain;  Augsburg:  J.  Knob- 
lauch, Wig  olds;  Switzerland,  Berne:  a Tristan ; Basel:  P.  Pernam, 
Merlin;  England,  London:  Wynkyn  de  Worde,  Joseph,  Merlin; 
Ru  ;iard  Pinson  (Pynsson),  Joseph;  John  Her  ford,  Leland’s  As- 
sen  0;  Richard  Grafton,  Arthur;  William  Copland,  Arthur; 
Thomas  East,  Arthur;  John  Wolf(e),  Leland’s  Assertio,  Arms  of 
the  Companions  of  the  Round  Table;  R.  Robinson,  Devise  des 
armes,  Leland’s  Assertio,  Misfortunes  of  Arthur;  Edinburgh : John 
Pinkerton,  Gawain;  Walter  Chapman  (Chepman),  Golagros  and 
Gawain;  Spain,  Seville:  Juan  Cromberger,  Tristan;  Domenico  de 
Robertis,  Tristan;  unsigned,  a Tristan,  Merlin,  Grail,  and  Perceval; 
Toledo:  Juan  de  Villaquiran,  Grail;  an  unsigned  Tristan ; Valla- 
dolid:  Juan  de  Burgos,  Tristan;  Barcelona:  a Gawain;  Belgium, 
Antwerp:  Martin  Nucio,  a Spanish  Tristan;  Italy,  Milan:  Joanne 
da  Castione,  Tristan;  an  unsigned  Gawain;  Bologna:  Benedetti, 
Novelle  antiche,  containing  short  poems  on  Tristan  and  Lancelot; 
Venice:  Bartolomeo  and  Francesco  suo  genero,  Merlin;  Michele 
Wamessino  (Tremezzino),  Percef  orest,  Tristan,  Lancelot;  P.  Nic- 
colini,  Tristan;  i Guerra,  Lancelot;  Alexandro  and  Benedetto  de 
Bindoni,  Tristan;  Vicentio  (Vicentino)  and  Nicolo  Zoppino, 
Lancelot;  Venturino  de  Roffinelli,  Merlin;  Florence:  Giunti,  Bor- 
ghini’s  Libro  di  novelli,  containing'  Tristan. 

A comparison  of  the  first  half  and  the  second  half  of  this  cen- 


133 


The  Romanic  Review 


tury  shows  a decrease  in  the  number  of  productions : one  hundred 
and  seven  to  eighty-four,  with  twenty-one  additional  ones,  the  rela- 
tive dates  of  which  are  not  determined.  The  last  quarter  has  only 
thirty-six,  the  other  quarters  having  fifty-nine,  forty-eight,  and 
forty-eight  respectively.  French,  with  fifty  and  twenty- five,  not 
including  eight  undated,  and  Spanish,  with  fourteen  and  five,  are 
the  only  languages  showing  a decrease  during  the  course  of  the  pe- 
riod, while  German,  with  ten  and  seventeen,  not  including  five  un- 
dated, English,  with  eleven  and  fifteen,  and  Italian,  with  eighteen 
and  twenty,  not  including  eight  undated,  present  an  increase,  the 
others  remaining  stationary.  This  falling-off  in  French  is  signifi- 
cant, for  interest  in  France  will  wane  appreciably  in  the  seventeenth 
and  eighteenth  centuries. 

The  names  of  authors  and  copyists  belonging  to  the  sixteenth 
century  are:  Nicolo  Agostini,  L.  Alemanni,  Vicenzo  Borghini, 
Johan  Bourghcher  (Lord  Berners),  Philipe  Camus,  R.  Copland, 
Christopher  Crispin,  Erasmo  di  Valvasone,  Jorge  Ferreira  de  Vas- 
concellos,  Fossa  da  Cremona,  Enea  Galetti,  Gilles  Gourmant,  Carlo 
Gualteruzzi,  John  Harding,  John  Hawkins,  Thomas  Hughes,  Juan 
de  Villaquiran,  John  Leland,  William  Liely,  Jean  (Ian)  Maugin, 
John  Pinkerton,  C.  Platin,  Pseudo-Shakespeare,  Roderigo  de  Rei- 
nosa,  Hans  Sachs,  Sala18  de  Lyon,  Spenser,  Stowe,  Timoneda, 
Warner. 

The  subjects  treated  are:  Arthur,  Armes  des  chevaliers  de  la 
Table  ronde,  Chevalier  au  lion,  Chronicles,  based  on  Geoffrey  of 
Monmouth,  Devise  des  armes,  Erec,  Fairy  Queen,  Gawain,  Gene- 
viere,  Giglain,  Giron,  Golagros  and  Gawain,  Grail,  Gundelbano, 
Jaufre  (son  of  Conde  don  Ason),  Joseph,  Lady  of  Shalot,  Lancelot, 
Lanval,  Libeaus  desconnus,  Mantel  mautaille,  Meliadus,  Merlin, 
Oliver  and  Arthur,  Percef orest,  Perceval , Round  Table,  Sagramor, 
Serments  des  chevaliers  de  la  Table  ronde , Tristan ,19  Tournois  des 
chevaliers  de  la  Table  ronde,  Wigoleis,  Ysaye  le  triste. 

18  This  is  not  the  same  Sala  who  wrote  a Tristan  et  Lancelot  in  the  fifteenth 
century. 

19  Tristan  is  treated  in  supplementary  versions,  in  addition  to  the  regular 
ones:  Innamoramento  di  Tristano,  Qualitd  di  Tristano,  Lettera  di  Tristano, 
Death  of  Tristan,  and  an  Italian  version  of  the  incident  of  Tristan  as  fool. 


Arthurian  Literature 


139 


Names  of  the  previous  centuries  reappearing  at  this  time  are : 
Eilhart  von  Oberge,  Ulrich  Fiierterer,  Geoffrey  of  Monmouth, 
II;,  rtmann  von  Aue,  Heinrich  von  dem  Tiirlin,  Helie  de  Borron, 
Luce  de  Gast,  Malory,  Robert  de  Borron,  Robert  of  Gloucester, 
Rusticien  de  Pise,  Sala  de  Lyon  (?). 

(To  be  continued .) 


Yale  University 


A.  E.  Curdy 


Reprinted  from  The  Romanic  Review,  Vol.  I,  No.  3,  July-September,  1910.] 


ARTHURIAN  LITERATURE— II 

( Continued  from  page  139) 

MENTION  has  already  been  made  of  the  rapid  decrease  in  the 
number  of  writers  and  versions  in  the  seventeenth  century 
— the  period,  indeed,  in  which  the  lowest  point  of  Arthurian  pro- 
duction was  reached.  This  sudden  decline  in  interest  is  amazing, 
and  there  is  no  direct  testimony  as  to  the  cause.  The  suggestion  has 
been  made,  that  the  intellectual  struggles  of  the  seventeenth  and 
eighteenth  centuries  are  accountable  for  this  state  of  affairs.  Pos- 
sibly there  were  other  reasons,  which  do  not  appear.  The  attention 
of  the  literary  world  was  strongly  drawn  toward  the  drama  during 
this  century,  and  the  whole  subject  of  the  construction  of  stage 
productions  was  fought  out  with  a vehemence  that  left  nothing  to 
the  imagination.  As  a result  of  this  interest  in  the  stage  we  find 
that  Arthurian  subjects  appear  for  the  first  time  in  dramatic  form, 
b in  a very  small  number  of  cases.  The  first  piece  was  that  of 
John  Dry  den,  King  Arthur , or  The  British  Worthy,22  which  was 
acted  and  published  ; then  Desmarres  wrote  La  Dragonne , ou 
Merlin  Dragon 23  Francis  Bacon  wrote  The  Misfortunes  of 
Arthur,  a drama  based  on  Malory’s  Morte  d’ Arthur2*  There  were 
redactions  and  alterations  in  the  following  century,  and  these  prob- 
ably gave  the  impulse  for  dramatic  handling  of  the  various  subjects 
of  the  Arthurian  tradition.  The  three  types  of  literature — the 
lyric,  the  novel,  and  the  drama — are  now  represented.  It  is  strange 
that  Tristan,  at  least,  did  not  appeal  to  writers  before,  or  during, 
this  century  as  a subject  for  the  stage.  It  contained  the  elements 

22  A dramatic  opera  in  five  acts,  in  prose.  London:  Jacob  Tonson,  1691; 
republished  1736,  1770,  1781.  According  to  H.  B.  Wheatley  ( Merlin , or  the 
Early  History  of  King  Arthur , edited,  with  the  assistance  of  W.  E.  Mead,  D.  W. 
Nash,  J.  S.  S.  Glennie,  London,  Early  English  Text  Society,  1865-1899;  p. 
lxxvi),  this  is  largely  an  original  creation  showing  slight  influence  of  the 
romances  dealing  with  Arthur  and  Merlin. 

23  A comedy  in  one  act  in  prose.  La  Haye,  1696. 

24  The  catalog  of  the  British  Museum  states  this  to  be  based  on  Dryden. 

265 


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for  such  treatment,  and  would  have  lent  itself  admirably  to  one  of 
the  forms  of  the  drama,  as  was  perceived  at  a later  date. 

There  are  but  seventeen  authors  to  be  recorded  in  this  period, 
with  two  additional  ones  who  planned  works  relating  to  the  sub- 
ject; twenty  titles,  not  including  eight  supplementary  ones:  six  on 
'Arthur , one  on  Gawain,  and  one  on  Tristan.  There  are  thirty-eight 
versions  distributed  among  seven  languages : English,  twenty ; Ger- 
man, six;  Icelandic,  five;  Welsh,  Italian,  and  French,  two  each;  and 
Danish,  one.  Only  in  the  Scandinavian  countries  was  there  an 
increase  of  interest.  In  Icelandic  there  are  two  manuscripts  on 
Percevals  saga , written  from  the  Conte  del  Graal  of  Chrestien  de 
Troyes;  two  entitled  Mottels  saga,  and  one  entitled  Skijju  rimur, 
all  treating  of  the  Mantel  Mautaille;  a Breta  Sogur;  a translation 
of  the  Historia  of  Geoffrey  of  Monmouth;  one  Iven(t)s  saga,  a 
copy  of  the  translation  of  Chrestien’s  Chevalier  au  lion,  ordered  by 
King  Hakon;  and  an  Ereks  saga,  a translation,  also,  of  Chrestien. 
In  Danish  we  have  a Vingoleis,  a translation  of  the  German  version. 

The  names  of  authors  and  scribes  are:  Francis  Bacon,  Sir 
Richard  Blackmore,  Thomas  Blount,  Jacob  Bloome,  Robert  Ches- 
tre,  T.  Deloney,  Desmarres,  John  Dry  den,  Fhinn  Duanaire,  Jon 
Erlendsson,  Thomas  Hey  wood,  Lhuyd,  Martin  Parker,  William 
Rowley,  Jon  Thordarsson,  Johann  C.  Wagenseil,  Joseph  Witzen- 
hausenz.  John  Milton  planned  an  Arthurian  epic,  but  was  drawn 
away  from  his  plan  by  the  religious  disturbances  of  the  times;  and 
John  Dryden  and  Henry  Purcell  also  planned  an  Arthurian  epic.25 
Shakespeare  is  said  to  have  assisted  William  Rowley  in  the  compo- 
sition of  his  Birth  of  Merlin, 26  but,  in  the  absence  of  direct  proof, 
there  is  reason  for  doubt  regarding  this  collaboration. 

The  subjects  treated  were:  Arthur,  with  six  supplementary 
versions;  Carle  of  Carlyle;  Cor;  Boy  and  Mantel,  an  imitation  of 
Robert  Biket’s  Corn  and  the  Mantel  mautaille;  Erec;  Gawain,  with 
one  supplementary  version;  Giglain;  the  Green  Knight;  Iwein; 
Libeaus  desconnus;  Lancelot;  Lanval ; Mantel  mautaille;  Meliadus; 
Merlin;  Perceval;  Tristan,  with  an  additional  ballad  entitled  Acan- 
thus, a Complainte;  The  Turke  and  Gowin;  Wigoleis . 

25  Fraser's  Magazine,  XLV,  1852,  196-200. 

28  Wheatley  et  al.,  p.  lxxvi.  For  title,  see  note  22. 


Arthurian  Literature 


267 


The  places  of  publication  were:  England,  London:  William 
Stansby,  Arthur;  Jacob  Tonson,  Arthur;  (no  printer  has  been  iden- 
tified with  the  publications  on  Merlin;)  and  several  additional  ver- 
sions of  Arthur;  Italy,  Venice : Imberti  Domenica,  Gawain,  a con- 
tinuation of  Agostini’s  Tristan;  France,  Troyes:  Meliadus  (no 
printer’s  name);  Lyons:  Gilles  and  Jacques  Hugueton,  Giglain; 
Germany,  Erfurt:  J.  Singer,  Tristan;  Nuremberg  (no  printer’s 
name)  Wigoleis;  M.  and  J.  Endter,  Tristan;  Konigsberg:  Arthur, 
Ji  igoleis  (no  printer’s  name);  Frankfort:  Merlin  (no  printer’s 
name);  Hamburg:  Lorenz  Schneider,  Wigoleis;  Denmark,  Copen- 
hagen: Vingoleis  (no  printer’s  name).  No  mention  has  been  found 
of  any  manuscripts  or  printed  books  in  Spanish  during  this  period. 

The  writers  of  the  previous  centuries  who  are  represented  are : 
Agostini,  Robert  Biket,  Chrestien  de  Troyes,  Geoffrey  of  Mon- 
mouth, Malory,  Renauld  de  Beaujeu,  Rusticien  de  Pise. 

The  story  of  the  eighteenth  century,  like  that  of  the  seventeenth, 
is  quickly  told.  Interest  in  the  subject  was  still  low,  as  is  demon- 
strated by  the  small  number  of  names  and  versions.  Particulars 
for  the  century  are:  twenty-six  names,  twenty-two  titles  (not  in- 
cluding twelve  supplementary  ones,  of  which  six  are  on  the  subject 
of  Arthur,  and  six  on  Merlin),  and  forty-one  versions,  divided 
among  eight  languages:  English  has  seventeen;  French,  ten;  Welsh 
Icelandic,  each  four ; Italian  and  German,  each  two ; Latin  and 
Portuguese,  each  one. 

Names  are:  Purcel  Arne,  Alexander  Bicknell,  Erik  J.  Bjorner, 
Johann  J.  Bodmer,  S.  Boulard,  Henry  Fielding,  David  Garrick,  W. 
Giffard,  Aaron  Hill,  Richard  Hole,  Gunnlaug  Leifsson,  Pierre  J. 
B Legrand  d’Aussy,  Maurice  McGorman,  Melissa  (pseudonym), 
J.  W.  Reed,  Jon  Sigurdsson,  Ada  Silva,  John  Thelwell,  Aaron 
Thom (p) son,  Louis-Elisabeth  de  la  Vergne  (Comte  de  Tressan), 
Jacques  Vergier,  Warton,  Christoph  Martin  Wieland.  In  addition 
to  what  he  actually  wrote,  Wieland  planned  a Tristan.  Besides 
these  persons,  who  should  be  credited  with  original  compositions, 
or  adaptations,  of  previous  versions,  a few  scholars  appear  who  are 
interested  in  the  subject  from  a critical  standpoint.  In  1758  R. 
Manessen  published  at  Zurich  an  edition  of  Wolfram  von  Eschen- 
bach.27  This  is  the  first  attempt  at  editing  a writer  of  any  com- 

27  Her  W olfram  von  Eschenbach.  Sammlung  von  Minnesingern  durch  R. 
Manessen  herausgegeben.  Zyrich,  1758-9. 


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position  dealing  with  the  Arthurian  tradition,  that  has  come  to  the 
knowledge  of  the  present  writer.  In  1779,  Legrand  d’Aussy 
issued  his  Fabliaux  ou  Contes , fables  et  romances  du  XIIe  et  du 
XIIIe  siecle , published  at  Paris,  a collection  of  mediaeval  tales, 
retold  and  brought  together.  Jean-Baptiste  de  la  Curne  de  Sainte- 
Palaye  copied  a fourteenth-century  manuscript  of  Wace’s  Brut , 
possibly  for  the  purpose  of  critical  treatment.  We  have  here  prob- 
ably the  beginnings,  altho  slight,  of  scholarly  consideration  of  the 
monuments  of  the  cycle. 

Only  a few  writers  of  previous  centuries  seem  to  have  received 
attention  at  this  time : Alemanni’s  Girone  was  reprinted ; Chrestien’s 
Yvain  was  abridged  in  an  English  translation;  Dryden  was  altered, 
or  rehandled,  three  times ; Geoffrey  of  Monmouth’s  Merlin  appeared 
in  Icelandic,  and  his  Historia  was  translated  into  English ; Thomas 
Hughes’  Misfortunes  of  Arthur  was  reprinted;  Tristan , by  Rusti- 
cien  de  Pise,  was  put  into  modern  French;  as  was  also  Robert  de 
Borron’s  Merlin;  Prince  Arthur  appeared,  an  adaptation  from 
Spencer;  Wolfram  von  Eschenbach  was  imitated  in  a work  entitled 
Parcival , in  German ; and  Wace’s  Brut  was  copied  . 

The  places  of  publication  were:  England,  London,  Oxford; 
Ireland,  Dublin;  France,  Paris;  Germany,  Jena;  Italy,  Bergamo; 
Switzerland,  Zurich;  Sweden,  Stockholm;  Denmark,  Copenhagen. 
A surprisingly  large  number  (thirty  per  cent.)  of  the  extant  ver- 
sions are  in  manuscript  form. 

The  subjects  on  which  compositions  exist  are  as  follows: 
Arthur,  with  six  supplementary  versions;  Brut ; Crop-eared  Boy; 
Chevalier  a Vepee;  Eagle-Boy;  Erec;  Gawain ; Giron;  Lancelot; 
Lanval ; Mantel  mautaille;  Merlin;  Mule  sans  frein;  Perceval; 
Samson  the  Fair;  Tristan;  Wigoleis;  Yvain. 

The  nineteenth  century  began  with  the  translation  of  Legrand 
d’Aussy’s  Fabliaux  by  Way;  a copy  of  the  Auchinleck  manuscript, 
in  the  Bodleian  Library  at  Oxford;  and  an  incomplete  poem  on 
Tristan,  by  Carl  W.  F.  von  Schlegel;  all  in  1800.  The  last-named 
production,  that  of  Schlegel,  was  a portion  of  a larger  work 
planned  on  the  Round  Table,  and  was  founded  on  the  version  of 
Gottfried  von  Strassburg.  During  the  first  quarter  of  the  century 
only  twenty-one  names  and  anonymous  versions  have  been  found. 


Arthurian  Literature 


269 


and  in  the  second  quarter,  but  thirty-two  . The  third  and  fourth 
quarters  are  about  equally  divided  in  this  connection.  The  first 
edited  work  of  the  century  was  that  of  F.  Glokle  and  J.  Gorres,  a 
reproduction  of  Lohengrin,  Heidelberg,  1813.  This  was  followed 
by  The  History  of  the  renowned  Prince  Arthur,  edited  by  Joseph 
Haslewood,  London,  1816,  a correct  reprint  of  Stansby’s  1634  edi- 
tion of  Malory’s  Morte  d’Arthure.  Then  came  Robert  Southey’s 
reprint  of  Malory,  1817,  furnished  with  an  introduction  and  critical 
notes.  It  was  reserved  for  the  second  half  of  the  century  to  pro- 
duce any  number  of  really  scholarly  editions  of  the  monuments. 
It  is  not  in  the  plan  of  this  article  to  enumerate,  or  consider,  critical 
editions.  These  will  be  left  for  inclusion  in  the  bibliography 
already  announced.  In  the  summary  which  follows  are  included 
original  treatments,  rehandlings,  and  translations.  (Incidentally  a 
certain  number  of  illustrations  are  indicated  in  brackets.) 

The  preponderance  of  productions  in  English  is  startling.  This 
interest  was  due  largely  to  the  works  of  Tennyson,  and  to  the  grow- 
ing attraction  for  the  version  of  Malory,  which  has  been,  and  is  still 
being  reprinted,  rehandled,  modernized,  extracted  from,  retold,  and 
edited  for  pedagogical  purposes.  Later  than  these,  Wagner’s 
dramas  have  been  of  great  influence.  Next  to  the  interest  in  Eng- 
land and  America  is  to  be  noted  that  in  Germany,  due  to  the  excel- 
lent works  of  Schlegel,  Immermann,  Simrock,  Wagner,  and  Hertz, 
to  mention  only  the  most  important.  France,  standing  third,  has 
definitely  lost  the  supremacy,  and  other  countries,  with  Italy  lead- 
ing, have  fallen  far  behind. 

The  subjects  most  frequently  treated  are:  Arthur,  predominat- 
ing, with  a number  of  original  productions  which  are  variations 
from  the  common  themes,  then  Tristan,  which  is  followed  by  Mer- 
lin, Perceval,  and  Lancelot . With  Arthur  should  be  grouped  the 
versions  on  the  Grail  and  the  Round  Table,  for  these  three  run  into 
each  other  in  such  a fashion  as  to  make  separation  difficult,  if  not 
impossible,  in  many  instances.  Arthur  and  the  Round  Table  are 
treated  in  English  by  Thomas  Bulfinch,  The  Age  of  Chivalry,  1863, 
in  which  he  retells  the  stories  of  chivalry;  [Aubrey  Beardsley, 
illustrations  to  Malory’s  Morte  d’ Arthur,  1893;]  [Gustave  Dore, 
illustrations  to  Tennyson’s  Idylls,  1867,  1868,  1878;]  Comyns  Carr, 


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King  'Arthur,  a drama,  1895;  Beatrice  Clay,  Morte  d' Arthur, 
Stories  for  Children  (date  not  found)  ; E.  Conybeare,  La  Morte 
d’ Arthur,  an  abridgment  of  Malory,  1868;  G.  R.  Emerson,  Dore's 
Legends  of  King  Arthur,  from  chronicles  and  poets,  1867-78; 
Sebastian  Evans,  Arthur's  Knighting,  an  original  poem,  1875,  The 
Eve  of  Morte  Arthur,  poem,  1875,  and  The  High  History  of  the 
Holy  Grail,  translated  from  the  French,  1898;  Edgar  Fawcett,  The 
New  King  Arthur,  a poem,  1885;  John  H.  Frere,  Monks  and 
Giants,  1818;  John  S.  Glennie,  King  Arthur,  or  the  Drama  of  the 
Revolution,  dealing  with  the  contemporary  conflict  of  political  and 
religious  ideas,  1867;  Quest  for  Merlin,  1870,  and  Youth  of  Arthur, 
1880;  Edward  Hamley,  Sir  Tray,  a parody  on  Arthurian  material, 
1873 ; Robert  S.  Hawker,  King  Arthur's  Waes-Hael,  i860,  and 
Quest  of  the  Sangrael,  incomplete,  1864;  George  W.  Cox  and 
Eustace  H.  Jones,  Popular  Romances  of  the  Middle  Ages,  contain- 
ing Arthur,  Merlin,  and  Tristan,  1871,  based  on  various  sources; 
J.  T.  K(nowles),  The  Story  of  King  Arthur  and  his  Knights  of  the 
Round  Table,  an  abridgment  of  Malory,  1862;  Sidney  Lanier,  The 
Boy's  King  Arthur,  Malory  retold  and  edited  [with  illustrations 
by  A.  Kappes],  1880;  E.  Bulwer  Lytton,  King  Arthur,  and  The 
Fairy  Bride,  1849;  M.  W.  MacDowall  and  W.  S.  W.  Anson,  Epics 
and  Romances  of  the  Middle  Ages,  adapted  from  the  work  of  Dr. 
W.  Wagner,  1.883,  contains  Lohengrin  and  other  legends  of  King 
Arthur,  the  Holy  Grail,  Titurel,  Perceval,  and  Tristan ; C.  Morris, 
King  Arthur  and  the  Knights  of  the  Round  Table,  a modernization 
of  Malory,  1892;  William  Morris,  King  Arthur's  Tomb,  1858  [and 
various  scenes  painted  illustrating  the  legend] ; R.  W.  Morgan, 
The  Duke's  Daughter,  1867,  in  which  Arthur  appears  as  a charac- 
ter, but  there  is  only  slight  connection  with  the  legend;  D.  M. 
Mulock,  King  Arthur,  1886;  Mrs.  G.  F.  S.  Menteath,  Avalon  (no 
date)  ; W.  W.  Newell,  King  Arthur  and  the  Table  Round,  chiefly 
from  Chrestien  de  Troyes,  1897;  B.  M.  Ranking,  La  Mort  d' Ar- 
thur, abridged  from  Malory,  1871 ; John  Rhys  and  F.  J.  Simmons, 
The  Birth,  Life,  and  Acts  of  King  Arthur,  Malory’s  Arthur 
modernized  in  spelling  and  edited  [with  illustrations  by  Aubrey 
Beardsley],  1893 1 [Dante  G.  Rosetti  painted  scenes  from  the  legend 
about  1857;]  Robert  Southey,  The  Byrth,  Lyf,  and  Actes  of  Kyng 


Arthurian  Literature 


271 


Arthur , a reprint,  with  notes,  of  Malory,  1817;  Sir  E.  Strachey, 
Morte  Arthur , Malory  revised,  1868;  Tom  Taylor,  Ballads  and 
Songs  of  Brittany,  poems  on  Arthur,  Tristan,  Merlin,  Taliesen, 
1865 ; Alfred,  Lord  Tennyson,  beginning  in  1832,  published  poems  on 
the  legends  :28  Lady  of  Shalott,  1832,  and,  at  the  same  time,  he  issued 
two  poems  over  the  pseudonym  “ Merlin  ” ; Morte  d’ Arthur,  and  Gal- 
ahad, 1842;  Enid,  1856;  Enid  and  Nimue,  1857;  Guinevere,  1858; 
Idylls  of  the  King:  Enid,  Vivien,  Elaine,  Guinevere,  1859,  which 
were  published  later  with  additions : Lancelot  and  Elaine,  Geraint 
and  Enid,  Merlin  and  Vivien,  Coming  of  Arthur,  Holy  Grail,  Pel- 
leas  and  Ettarre,  Passing  of  Arthur,  Marriage  of  Geraint,  Balin  and 
Balan,  Last  Tournament;  Holy  Grail,  1869;  Gareth  and  Lynette, 
1872;  Merlin  and  the  Gleam,  1889;  Mark  Twain  (Samuel  L.  Clem- 
ens), A Connecticut  Yankee  at  King  Arthur's  Court , a satire,  1889; 
two  anonymous  versions:  Young  Arthur,  or  The  Child  of  Mystery, 
1819,  and  Arthur's  Knights,  an  Adventure  from  the  Sang  rale, 
1858.  William  and  Robert  Whislecraft  planned  an  epic  on  King 
Arthur  and  the  Round  Table,  1817.  Arthur  was  handled  in  French 
by  Ulric  Guttinguer,  Arthur,  1836;  F.  M.  Luzel  and  l’Abbe  Henry, 
Sainte  Tryphine  et  le  Roi  Arthur,  1863  5 Creuze  de  Lesser,  La  Table 
ronde,  1829;  and  Paulin  Paris,  Les  Romans  de  la  Table  Ronde, 
modernizations  of  Joseph  d'Arimathie,  le  Saint  Graal,  Merlin,  Ar- 
tus,  Lancelot,  1868;  in  Italian  by  Tomaso  V.  Mathias,  II  Cavaliere 
della  Croce,  1826,  in  which  Arthur  and  Merlin  rescue  an  im- 
prisoned hero;  in  Bohemian  by  W.  Hanka,  Stolowanie  Krale 
Artuse,  1817;  in  Portuguese  by  Teophilo  Braga,  Os  Doze  de  Ingla- 
terra,  1899.  The  Grail  is  found  in  the  English  productions  of 
Edwin  A.  Abbey  [frescoes  in  the  Boston  Public  Library,  1895- 
1902] ; Sebastian  Evans,  The  High  History  of  the  Holy  Grail,  trans- 
lated from  the  French,  1898;  J.  O.  Halliwell,  The  Nursery  Rhymes 
of  England,  1842,  where  is  a jingle  on  Arthur;  Robert  S.  Hawker, 
Quest  of  the  Sangrael,  1864;  Reginald  Heber,  Epic  on  Arthur,  in 
his  Works,  1841;  M.  W.  MacDowall  and  W.  S.  W.  Anson,  1883 
(the  title  is  given  above  under  Arthur ) ; W.  W.  Newell,  1897  (title 
above  under  Arthur ) ; and  Tennyson,  1870;  in  French,  by  Paulin 
Paris,  1868  (title  under  Arthur );  and  in  an  anonymous  Irish  ver- 

28  The  dates  for  Tennyson  are  taken,  as  far  as  possible,  from  the  Dictionary 
of  National  Biography.  Edited  by  Leslie  Stephen  and  Sidney  Lee.  London,  1885. 


2*] 2 


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sion.  Lancelot  appears  in  English  by  C.  Bruce,  The  Story  of  Queen 
Guinivere  and  Sir  Lancelot  of  the  Lake , after  the  German  of  W. 
Hertz,  1865 ; Gordon,  Rhyme  of  Joyous  Garde , 1868;  Edmund  Gosse, 
a poem  on  the  love  of  Lancelot  and  Guinevere,  1873,  in  the  volume 
entitled  On  Viol  and  Flute  (the  poem  was  omitted  from  later  editions 
on  account  of  the  ridicule  of  the  critics)  ; Richard  Henry,  Lancelot 
the  Lovely,  1889;  William  Morris,  A Good  Knight  in  Prison,  1858; 
W.  W.  Newell,  1897  (title  under  Arthur),  and  Tennyson  (title 
under  Arthur)  ; in  French  by  F.  Beau  and  Louis  Gallet,  Lancelot, 
1899,  with  music  by  Victorien  Jonsieres;  A.  Delvau,  in  the  Biblio- 
theque  Bleue,  i860,  retelling  of  the  story;  in  Italian  by  Giulio  Fer- 
rario,  Libro  di  Novelle  e di  bel  Parlar , etc.,  1804,  containing  narra- 
tions about  Lancelot,  Meliadus,  Tristan,  Lady  of  Shalot;  M[arc] 
A.  P[arenti],  Scelta  di  Prose  e di  Poesie,  etc.,  1826,  same  as  Fer- 
rario;  in  German  by  Franz  Bittong,  Lancelot,  a libretto  (no  date)  ; 
Adolf  Bottger,  Lancelot,  a libretto,  1861 ; Wilhelm  Hertz,  Lancelot 
und  Ginevra,  i860;  in  Spanish  by  Agustin  Duran,  Romancer 0 ge- 
neral, 1859,  containing  tales  of  Galvan,  Lanzarote,  Tristan.  Merlin 
appears  in  English  by  George  Bidder,  Merlin's  Youth,  1899;  J. 
Croskey,  Merlin,  a Piratical  Love  Story,  1896;  Ralph  W.  Emerson, 
Merlin,  1883,  a poem  containing  an  address  to  the  bard;  John  S. 
Glennie,  Quest  for  Merlin,  1870;  Jones  and  Cox  (title  under 
Arthur ),  1871 ; W.  W.  Newell,  1897  (title  under  Arthur) ; C.  W. 
F.  von  Schlegel,  Geschichte  des  Zauberers  Merlin,  1804;  Tom  Tay- 
lor, 1865  (title  under  Arthur)  ; Alfred,  Lord  Tennyson  (title  under 
Arthur ),  1832,  1859;  John  Veitch,  Merlin  and  other  Poems,  1889; 
and  William  Wordsworth,  The  Egyptian  Maid,  1835,  a story 
founded  on  Malory,  in  which  Merlin  plays  an  important  role;  in 
Italian  by  Ferrario  (title  under  Lancelot)  ; Parenti  (title  under 
Lancelot );  and  a reprint  of  Zorzi’s  Merlin,  Bologna,  1884;  in 
Spanish  by  Diaz  de  Benjumea,  El  Mensage  de  Merlin,  1875 ; in 
German  by  Karl  Goldmark,  Merlin,  an  opera,  1888;  Paul  Heyse, 
Merlin,  1892,  a novel,  not  reproducing  the  old  legend,  but  with 
here  and  there  a motive  or  hint  from  the  mediaeval  romance;  Carl 
W.  F.  von  Schlegel,  Merlin,  1823,  a translation  of  the  French  prose 
version  of  1528;  Karl  Immermann,  Merlin,  a myth,  1832,  in  which 
motifs  from  the  legends  of  Faust  and  the  Holy  Grail  are  mingled; 


Arthurian  Literature 


2 73 


Ludwig  Uhland,  Merlin  der  Wilde , 1829;  in  French  by  Paulin 
Paris  (title  under  Grail) ; and  Edouard  Quinet,  Merlin  I'Enchan- 
teur,  i860;  and  an  anonymous  Merlin , Tableaux , 1827.  Tristan 
appears  in  English  in  the  writings  of  Matthew  Arnold,  Tristram 
and  Iseult , 1852;  Vivian  Bell,29  Tristan;  H.  and  F.  Corder,  Tristan 
and  Iseult , 1882,  a translation  of  Wagner;  A.  Forman,  Tristan  and 
Iseult , 1891,  a translation  of  Wagner;  Maurice  Hewlett,  The 
Forest  Lovers,  1898;  F.  Jameson,  Tristan  and  Iseult,  1886,  a trans- 
lation of  Wagner;  M.  W.  MacDowall  and  W.  S.  W.  Anson  (title 
under  Arthur );  F.  Millard,  Tristram  and  Iseult,  1870;  [William 
Morris,  Tristram  in  Marc's  Palace,  a painting,  1856;]  and  The 
Chapel  in  Lyoness,  1856,  a poem;  Algernon C.  Swinburne,  Tristram 
of  Lyonesse,  1882;  The  Wanderer  (pseudonym),  Sir  Tristram's 
Axe,  1892,  a child’s  fairy  tale;  Jessie  L.  Weston,  The  Story  of 
Tristan  and  Iseult,  rendered  into  English  from  the  German  of  Gott- 
fried von  Strassburg  [with  illustrations  by  Caroline  Watts],  1899; 
in  French,  by  the  Count  de  Chambrun  and  S.  Legis,  in  their  trans- 
lations of  Wagner,  1895;  Alfred  Delvau  (title  under  Lancelot)’, 
M.  Lyon,  Tristan  et  Iseult,  1895,  a translation  of  Wagner;  Armand 
Silvestre,  Tristan  de  Leonois,  drame,  1891 ; V.  Wilder,  Tristan  et 
Iseult,  1886,  a translation  of  Wagner;  in  German  by  Karl  P.  Conz, 
Tristan's  Tod,  1824;  Wilhelm  Hertz,  Tristan  und  Isolde,  von  Gott- 
fried von  Strassburg,  neubearbeitet,  1877;  Karl  Immermann,  Tris- 
tan und  Isolde,  1841,  an  incomplete  poem;  Hermann  Kurz,  Riwalin 
und  Blanche flor,  1844;  Oswald  Marbach,  Tristan,  1839,  a transla- 
tion of  the  beginning  of  Gottfried  von  Strassburg;  August  von 
Platen,  Tristan,  1825,  incomplete;  Carl  Robert  (pseudonym  of 
Edw.  Hartmann),  Tristan  und  Isolde,  1871;  Friedrich  Roeber, 
Tristan  und  Isolde,  1854;  August  Wilhelm  von  Schlegel,  Tristan, 
1800,  incomplete;  Carl  W.  F.  von  Schlegel,  Tristan,  1846;  Ludwig 
Schneegans,  Tristan,  Trauerspiel,  1865;  Karl  J.  Simrock,  Tristan 
und  Isolde,  1845;  Tristan  und  Isolde,  ubersetzt  von  Gottfried  von 
Strassburg,  1855;  Wilhelm  Wackernagel,  seven  romances  on  Tris- 
tan and  Isolde  in  Gedichte  eines  fahrenden  Schulers,  1828;  Wil- 
helm Richard  Wagner,  Tristan  und  Isolde,  1859;  Joseph  Weilen, 

“This  work,  and  Yseult  given  below,  are  mentioned  by  Anatole  France  in 
his  Lys  Rouge,  chapter  one,  but  I have  not  been  able  to  locate  them.  He  also 
states  that  Burne-Jones  illustrated  the  Tristan  in  aquarelle. 


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Tristan,  eine  Tragodie,  i860;  in  Italian  by  A.  Boito,  Tristano  e 
Isotta,  1876,  a translation  of  Wagner;  Giulio  Ferrario  (title  under 
Lancelot)  ; C.  Nigra,  La  Romanza  di  Tristano  e Isotta,  1897;  m 
Spanish  by  Augustin  Duran  (title  under  Lancelot)  ; and  in  Bo- 
hemian by  Waclawa  Hanka,  Tristram  Weliky  Rek  ( Tristram  the 
Mighty  Hero),  1820.  (See  also  Iseult.)  Perceval  is  treated  in 
English  by  M.  F.  Glyn,  Parsifal,  1890,  a translation  of  Wag- 
ner; E.  F.  Germanicus  (pseudonym),  Parsifal,  der  reine  Thor, 
1883,  a translation  of  Wagner;  M.  W.  MacDowall  and  W.  S. 
W.  Anson  (title  under  Arthur)  ; W.  W.  Newell  (title  under 
Arthur) ; Jessie  L.  Weston,  Parzival,  a Knightly  Epic,  1894, 
translated  from  Wolfram  von  Eschenbach;  in  French  by  Al- 
phonse Grandmont,  Perceval,  1893,  translated  from  Wolfram 
von  Eschenbach;  V.  Wilder,  Parsifal,  1885,  translated  from 
Wagner;  in  German  by  Wilhelm  Hertz,  Parzival,  neubearbeitet 
von  Wolfram  von  Eschenbach,  1897;  K.  Pannier,  Wolfram  von 
Eschenbach,  Parzival,  ubersetzt,  1897;  A.  Schulz,  Parzival  von 
Wolfram  von  Eschenbach,  ubersetzt,  1836;  Karl  J.  Simrock,  Parzi- 
val und  Titurel  von  Wolfram  von  Eschenbach,  ubersetzt,  1842; 
Wilhelm  Richard  Wagner,  Parsifal > 1877;  [C.  Rotter,  R.  Wagner's 
Parsifal,  Neun  Scenenbilder  gemalt,  1892]. 

The  remaining  titles  are:  Balen  ( Balin ),  handled  by  Algernon 
C.  Swinburne,  Tale  of  Balen,  1896;  Tennyson,  Balin  and  Balan, 
1:859 ( ?)  i Inconnu  by  Alfred  Delvau  (title  under  Lancelot ); 

a chronicle  by  J.  A.  Giles,  The  History  of  the  Britons,  1841,  trans- 
lation of  Geoffrey  of  Monmouth ; The  Courteous  Knight,  by  E. 
Edwardson,  1899;  Elaine,  Tennyson,  1859;  [illustrated  by  Gustave 
Dore,  1867;]  Enide  [illustrated  by  Gustave  Dore,  1868;]  D.  E. 
M.  van  Herwerden,  Enid  metrisch  vertaald,  1888,  a translation 
of  Tennyson  into  Dutch;  Tennyson,  Enid,  1857;  Erec,  by  V.  As- 
mundson,  Aevintyra-Sogur,  1886;  L.  Cledat,  Erec  et  Enide,  ex- 
traits traduits  et  analysed,  1897;  S.  O.  Fistes,  Erek,  eine  Erzdhlung, 
1851;  W.  W.  Newell,  Erec  and  Enide,  1897;  Fight  with  the 
■Dragon,  by  H.  Kurz,  1844;  Galahad,  by  Elinor  Sweetmar,  Pastoral 
of  Galahad,  1899;  William  Morris,  Sir  Galahad,  1858;  Gareth  and 
Lynette,  see  above  under  Idylls  of  the  King;  Gawain,  by  A.  Duran 
(title  under  Lancelot):,  George  A.  Simcox,  Gawain  and  the  Lady 


Arthurian  Literature 


275 


of  Avalon , 1868;  Jessie  L.  Weston,  Gawain  and  the  Green  Knight, 
1898;  Geraint , by  Tennyson,  Geraint,  1859;  Guinevere,  by  Wil- 
liam Morris,  Defense  of  Guinevere,  Near  Avalon,  1858;  C.  Bruce, 
The  Story  of  Queen  Guinevere  and  Sir  Lancelot,  1865,  after 
the  German  of  W.  Hertz;  Owen  Meredith  (pseudonym  of  Edw. 
Robt.  Bulwer  Lytton),  Queen  Guinevere,  1855;  Edw.  Geo.  Bulwer 
Lytton,  The  Fairy  Bride,  and  King  Arthur,  poems,  1848-49; 
Thomas  L.  Peacock,  Misfortunes  of  Elphin,  1829,  in  which  Guine- 
vere is  carried  off  by  Melvas;  George  A.  Simcox,  Farewell  of 
Ganore,  1868;  Tennyson,  Guinevere,  1859  (see  also  Lancelot ); 
Guiron,  by  F.  Tassi,  Girone  il  cortese,  1855,  a translation  of  Rus- 
ticien  de  Pise;  P.  Zanotti,  Girone  il  Cortese,  1857;  Tennyson’s 
Idylls  were  treated  by  Oskar  F.  Adams,  Post-Laureate  Idyls,  1886, 
parodies;  J.  Angobol  Csukassi,  Enid:  Kiraly-idyll,  1876,  a transla- 
tion into  Hungarian;  [A.  Butts,  Sixteen  Illustrations  to  the  Idylls, 
1863;]  J.  H.  F.  Le  Comte,  De  Konnigs-Idyllen,  1893,  in  Dutch;  S. 
Eytinge,  Jr.,  The  Last  Tournament,  1872  [illustrated];  H.  A. 
Feldmann,  Konigsidyllen,  1871,  a translation;  Francisque  Michel, 
Elaine,  1867,  Vivienne,  Guinievre,  1868,  Enid,  1869,  translations; 
A.  Munch,  Idyller  om  Konig  Arthur,  1876,  translations  of  Tenny- 
son into  Danish;  [G.  W.  and  L.  Rhead,  Idylls  of  the  King:  Vivien, 
Elaine,  Enid,  Guinevere,  1898,  decorations;]  W.  Scholz,  Konigs- 
Idyllen,  1867,  translations  into  German;  K.  Szasz,  Kiraly-idyllek, 
1876,  1889,  translations  into  Hungarian;30  Yseult  by  Vivien  Bell 
(date?);  Charlotte  H.  Dempster,  Iseulte,  1875;  Robert  Gehrke, 
Isolde,  T rago die,  1 869.  ( See  also  T ristan. ) Iwein,  by  W.  Graf  von 

Baudissin,  Iwein  mit  dem  Lowen,  1845;  C.  J.  Brandt,  Ivan  Love - 
ridder,  1869,  translation  into  Danish;  W.  W.  Newell  (title  under 
Grail) ; Jaufre,  by  Jean  Bernard  Mary -La f on,  Les  Aventures  du 
Chevalier  Jaufre,  1856,  also  translated  into  English,  1869,  under 
the  title  Geoffrey,  the  Knight  [with  illustrations  by  Gustave  Dore] , 
but  the  name  of  the  translator  is  not  given;  Joseph,  by  Paulin  Paris 
(title  under  Grail)  ; Knight  of  the  Falcon,  by  an  anonymous  writer, 
1870;  Lady  of  the  Fountain,  by  the  same,  1870;  Lady  of  Shalot , by 
Giulio  Ferrario  (title  under  Lancelot)  ; W.  W.  Newell  (title  under 

80 Also  see  the  titles:  Enid , Lady  of  Shalott,  Vivien,  Elaine,  Guinevere, 
Lancelot,  Geraint,  Merlin,  Coming  of  Arthur,  Holy  Grail,  Pelleas,  Passing  of 
Arthur,  Balin,  Last  Tournament,  Morte  d’ Arthur,  Gareth. 


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The  Romanic  Review 


Grail)]  Tennyson,  Lancelot  and  Elaine , 1832;  Lais  of  Marie  de 
France,  by  E.  Rickert,  Marie  de  France.  Seven  of  her  Lais  done 
into  English , 18 — ; in  German  by  Wilhelm  Hertz,  Marie  de  France , 
Poetische  Erzahlungen  ubersetzt , 1862 ; Wilhelm  Hertz,  Lanval, 
1886,  translated  from  the  French;  also  translated  into  English  by 
Way,  1800;  James  Russell  Lowell,  Vision  of  Sir  Launfal,  1848; 
Way,  Translations  from  the  Fabliaux  of  Legrand  d’Aussy,  1800; 
Last  Tournament , by  Tennyson,  1871 ; Lohengrin , by  W.  W.  Mac- 
Dowall  and  W.  S.  W.  Anson  (title  under  Grail)  ; O.  F.  H.  Schon- 
huth,  Der  Schwanritter,  1864;  Karl  J.  Simrock,  Schwanenritter, 
1845;  Wagner,  Lohengrin,  1847;  One  of  the  Folk  (pseudonym), 
Lohengrin  Fifty  Years  After,  1895  ; J.  Ashton,  Romances  of  Chiv- 
alry told  and  illustrated,  1887;  Mabinogion,  by  Lady  Charlotte 
Guest,  The  Mabinogion,  a translation  into  English,  1849;  J-  Loth, 
Les  Mabinogion,  a translation  into  French,  1 889 ; Mantle,  by  Maxime 
Camp,  Le  Manteau  dechire,  1891 ; Mordred,  by  Henry  Newboth, 
Mordred,  a Tragedy,  1885;  Pelleas  and  Ettarre,  by  Tennyson,  1870; 
Peredur,  by  an  anonymous  writer,  Some  of  the  King's  Idylls  Un- 
varnished, 1870,  containing  Peredur , or  the  Magic  Basin ; Vivien, 
by  Tennyson,  1859. 

The  summary  for  the  nineteenth  century  is:  one  hundred  and 
fifty-four  authors;  forty-four  titles,  with  seven  additional  supple- 
mentary ones  on  Arthur;  two  hundred  and  thirteen  productions 
distributed  among  fourteen  languages : English  with  one  hundred 
and  twenty-three;  German,  thirty-three;  French,  twenty-four; 
Italian,  thirteen;  Dutch,  five;  Spanish,  four;  Hungarian,  Danish, 
and  Irish,  each  two;  Swedish,  Norwegian,  Hebrew,  Portuguese, 
and  Bohemian,  each  one. 

The  twentieth  century  has  already  a large  number  of  transla- 
tions, reworkings,  and  original  treatments  in  prose  and  poetry, 
appearing  in  narrative,  dramatic,  and  lyric  form.  The  information 
which  the  writer  has  been  able  to  obtain  would  indicate  that  inter- 
est in  the  cycle  has  diminished  very  considerably  in  all  countries, 
except  England  and  America.  This  statement  applies  only  to  pro- 
ductions of  a literary  nature.  If  we  consider  editions  and  scholarly 
monographs,  we  find  that  Arthurian  literature  is  attracting  the  at- 
tention of  students  in  practically  all  the  countries  of  Europe  and 


Arthurian  Literature 


2 77 


in  America;  but  these,  as  in  previous  centuries,  are  not  to  be  in- 
cluded here.  In  the  matter  of  literary  adaptations,  English  almost 
monopolizes  the  field,  with  fifty-five  productions,  followed  by 
French  with  four,  German  with  three,  and  Dutch  and  Swedish  with 
one  each.  It  seems  improbable  that  this  should  be  the  sum  of  the 
productions  outside  of  English.  Twenty-six  titles  appear,  with  an 
addition  of  four  supplementary  ones  on  Arthur.  There  are  forty- 
seven  names  of  writers,  and,  as  shown,  but  five  languages  are  rep- 
resented. Arthur  and  the  Grail , then  Tristan , are  the  subjects  which 
have  received  the  most  frequent  attention.  The  versions  with 
Arthur  as  subject  are  largely  rehandlings  and  reworkings  of  Malory, 
and  there  are  few  original  ones.  The  subjects  found  during  this 
first  decade  of  the  century  are:  Arthur , by  Mary  Macleod,  from 
Malory,  1900;  Andrew  Lang,  from  Malory,  1902;  C.  L.  Thomson, 
from  Malory,  1902 ; H.  Pyle,  1903 ; Beatrice  T.  Clay,  1905 ; U.  W. 
Cutler,  from  Malory,  1905;  Mary  Macgregor,  juvenile,  1905;  R. 

S.  Bate,  from  Malory  and  Tennyson,  1907;  C.  Morris,  1908;  L.  0:S 
Stevens  and  E.  F.  Allen,  from  Malory,  1908;  Frith,  from  Malory, 

19 — ; Arthur  in  Avalon , by  Geoffrey  (pseudonym),  1904;  King 
Arthur's  Table  on  Christmas,  an  enumeration  of  foods  and  drinks, 
1907;  King  Arthur's  Hunt,  by  William  H.  Carruth,  1908;  The 
Advent  of  Arthur,  by  Enid  L.  Hunt,  1908;  Cleges,  translated  from 
Old  English  by  Jessie  L.  Weston,  1901 ; Crop-eared  Boy,  trans- 
lated from  Welsh  by  R.  A.  S.  Macalister,  1908;  Eagle-Boy,  trans- 
lated from  Welsh  by  R.  A.  S.  Macalister,  1908;  Ex  Calibur,  drama, 
by  Ralph  A.  Cram,  1909;  Galahad,  by  Norley  Chester,  1907; 
Richard  Hovey,  drama,  1907;  M.  B.  Sterling,  1908;  Gawain,  by 
Jessie  L.  Weston,  1903;  Charlton  M.  Lewis,  1903;  The  Grail,  by 
Ferris  Greenslet,  1902;  Richard  Hovey,  drama,  1907;  R.  Kralik, 
1907;  Henry  James,  an  outline  of  the  version  of  the  legend  in 
description  of  the  Abbey  frescoes,  1907;  Norley  Chester,  1907; 
[Miss  E.  E.  Siddal,  a drawing,  1909;]  Guinevere,  drama,  by  Rich-  V 
ard  Hovey,  1907  (see  also  Lancelot)  ; Hist  or  ia  Britonum,  trans- 
lated by  Sebastian  Evans,  1904;  Iseult's  Return,  by  W.  W.  Newell, 
1908  (see  also  Tristan) ; Knight  of  the  Lion,  from  Chrestien  de 
Troyes,  W.  F.  Harvey,  1902;  Lohengrin,  by  Oliver  Huckel,  from 
Wagner,  1905;  Norley  Chester,  1907;  Lady  of  the  Fountain,  from 


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The  Romanic  Review 


the  Mahinogion , by  W.  F.  Harvey,  1902;  Lady  of  King  "Arthur's 
Court , by  Sara  H.  Sterling,  from  Malory,  1907;  Lancelot , by  Rich- 
ard Hovey,  drama,  1907;  H.  Pyle,  1907;  Lanval , by  Jessie  L. 
Weston,  from  Marie  de  France,  1900;  T.  E.  Ellis  (pseudonym  of 
Lord  Howard  de  Walden),  drama,  1908;  Libeaus  desconnus,  by 
Jessie  L.  Weston,  translated  from  Old  English,  1901 ; Mahinogion , 
translated  by  A.  Nutt,  1902;  Merlin , by  R.  A.  S.  Macalister,  trans- 
lated from  Irish,  1903;  Richard  Hovey,  drama,  1907;  Morien,  by 
Jessie  L.  Weston,  translated  from  the  Dutch  Lancelot , 1901 ; Oliver 
and  Arthur,  by  William  Leighton  and  Eliza  Barrett,  translated  from 
the  German  of  Wilhelm  Liely,  1903;  Perceval , by  J.  P.  Jackson, 
drama,  translation  of  Wagner,  1900;  Oliver  Huckel,  a poetic  para- 
phrase of  Wagner,  1903;  C.  G.  Kendall,  Tannhduser , in  which  Per- 
ceval appears  as  a character,  1903;  Percef orest,  reprint  of  the  1531 
French  version,  1906;  Taliesen , by  Richard  Hovey,  drama,  1907; 
Tristan , by  Joseph  Bedier,  a translation  and  reconstruction,  1900; 
H.  Belloc,  d translation  of  Bedier  into  English,  1900;31  J.  Zeidler, 
a translation,  1901 ; M.  Lokes,  a translation  of  Bedier  into  Dutch, 
1903;  Elizabeth  Colwell,  poem,  1907;  R.  Le  Gallienne,  translation 
of  Wagner,  1909;  Eddy  Marix,  drama,  1905;  Ernst  Hardt,  Tantris 
der  Narr,  1909.  A drama  has  been  announced,  to  be  played  by 
Sarah  Bern'hardt,  written  by  Louis  Artus,  the  pseudonym  of  a dis- 
tinguished French  scholar. 

A.  E.  Curdy 

Yale  University 

81 A new  edition  by  Bedier,  with  illustrations  by  Maurice  Lalan,  has  been 
issued  by  Piazza  et  Cie.,  Paris,  1910. 


I 


